MURALTEX 


FOR THE RICH 
BMIELLOW BEAUTY 
OF PLASTIC 
TEXTURED WALLS 


A.1.A File No. 25-B-29 


DIRECTIONS 
FOR USING MURAL-TEX 


URAL-TEX is manufactured 

in dry powder form, and sim- 
ply requires mixing with ordinary 
cold water to prepare it for imme- 
diate use. 


The mixture is applied to wall 
or ceiling surfaces with a suitable 
brush. Any desired texture may 
then be developed by manipulating 
the surface with a brush, whisk 
broom, comb, stippler, sponge, wad 
of paper, broad knife or other im- 
plement. The surface is then col- 
ored and glazed by simple processes. 


The proper method of handling 
each operation is treated at length 
on the pages following. 


THE MURALO COMPANY, INC. 


Founded 1894 


Specializing Exclusively in Decorative Wall Coatings, 
Cold Water Paints, Wail Sizes and Patching Plaster. 


STATEN ISLAND, NEW YORK 


Boston Atlanta Chicago San Francisco 


67HM-SZ CON VA VT V 


1. SURFACE TREATMENT 


Proper preparatory treatment of surfaces 
is very important. Reputable decorative 
coatings are often condemned as unsatisfac- 
tory when, as a matter of fact, the surfaces 
to which applied are not in proper condition 
to receive the coating. 


Follow directions carefully and Mural- 
Tex can be applied with highly satisfactory 
results over plaster, wall board, brick, stone, 


hollow tile, metal or any solid surface that 
provides a firm foundation. 


Mural-Tex is as near fool-proof as a decora- 
tive material can be, but like any other good 
product can be ruined through carelessness. 
The exercise of good common sense in the 
treatment of Mural-Tex will solve most of 
the problems encountered. 


SMOOTH HARD-FINISHED PLASTER 


NEW WALLS: Allow to dry for three to four 
weeks and then give a priming coat of Muralo Wall 
Size, allowing the Size to dry thoroughly before 
applying Mural-Tex. 


OLD WALLS: The surface must be clean and 
free from kalsomine, wall paper and loose paint. 
Cleanse greasy surfaces with soap and hot water, 
adding a small quantity of borax to the water, fol- 
lowed by rinsing with clean water. 


Cracks and holes in the plastering should be cut 
out and scraped clean, then wet down, and filled 
with Muralo Patching Plaster. Allow the repaired 
parts to dry out and then touch up same with Muralo 
Wall Size, including all stained spots in the plaster- 
ing. The entire wall surface should then be given 
a coat of the Wall Size and allowed to dry thorough- 
ly before applying Mural-Tex. 


SAND OR FLOAT FINISH PLASTER 


When thoroughly dry dust down the surface care- 
fully in order to remove all loose particles and then 
apply a priming coat of Muralo Wall Size, allowing 
the Size to dry thoroughly before applying Mural- 
ex: 


It is most essential that the plaster be thoroughly 
dry clear through, as damp walls will prevent proper 
adhesion of either the Size or the Mural-Tex. 


If Lime is employed in producing the Float 
Finish, the walls should be allowed to stand suf- 
ficient time to age properly before sizing and apply- 
ing Mural-Tex. 


COLUNIBIA UNIVEROI | 


[2] 


BROWN COAT PLASTER 


If it is desired to apply Mural-Tex directly over 
a Hard Brown Coat, the Plasterer’s specifications 
should call for floating to a true and even surface. 
After allowing to dry thoroughly, dust down care- 
fully and apply a coat of Muralo Wall Size allowing 
the Size to dry thoroughly before applying Mural- 
Tex: 


It is most essential that the plaster be thoroughly 
dry clear through, as damp walls will prevent proper 
adhesion of either the Size or the Mural-Tex. 


If Lime is employed in producing the Brown Coat, 
the walls should be allowed to stand sufficient time 
to age properly before sizing and applying Mural- 
Tex. 


GYPSUM WALL BOARDS 


Wet down all joints. Fill joints and cover nail 
heads with Muralo Patching Plaster. Cover the 
touched-up parts while the Patching Plaster is still 
wet with a 2” strip of Muslin, forcing the Patching 
Plaster well into the fabric and spreading the plaster 
to a feather edge on all sides—this acts as a precau- 
tionary measure to minimize the possibilities of 
cracking at the joints. 


Allow the repaired parts to dry out and then 
touch up same with Muralo Wall Size. The entire 
wall surface should then be given a coat of the Wall 
Size and allowed to dry thoroughly before applying 
Mural-Tex. 


PULP AND FIBRE WALL BOARDS 


Pulp and Fibre Wall Boards as a general rule 
require preliminary treatment such as wetting down, 
filling and covering the joints and nail heads as well 
as sizing. Due to the variety of boards on the 
market it is not practical to lay down specific instruc- 
tions applicable to all. It is advisable to follow 
specifications supplied by the manufacturer of the 
respective board in each instance. 


Boards that expand and contract require special 
treatment such as reinforcing the joints with wire 
mesh and other devices. Panelling is sometimes 
necessary in order to conceal the joints effectively. 


CALCIMINES AND WATER PAINTS 


Calcimines and Water Paints should be removed 
entirely by washing thoroughly, taking care to re- 
move all material clear to the woodwork and in 
corners and coves. It will usually be found that the 
surface under calcimine has been sized with Paint, 
Varnish, Shellac, Gloss Oil or some other sizing 
material. Before applying Mural-Tex the surface 
should be treated in the manner specified for that 
particular type of surface. 


WALL COVERINGS 


WALL PAPER: Remove wall paper entirely, 
taking care to wash all paste from the wall with hot 
water, adding a small quantity of Borax to the 
water, followed by rinsing with clean water. 


WALL FABRICS: As a general rule it is ad- 
visable to remove fabrics entirely, for the reason that 
the adhesive used in hanging sometimes lets go in 
places. If, upon careful examination, there is no 
evidence of the fabric leaving the wall, it is reason- 
ably safe to apply Mural-Tex over it, first taking 
care to apply a coat of Muralo Wall Size, and allow- 
ing it to dry thoroughly. 


After removing wall paper or wall fabric, treat the 
surface in the same manner as specified for Calci- 
mine, before applying Mural-Tex. 


PAINTED SURFACES 


GENERAL: Loose material should be well 
scraped and the surface then brushed down with a 
stiff brush. Cleanse greasy surfaces with hot water, 
adding a small quantity of Borax to the water, fol- 
lowed by rinsing with clean water. 


FLAT PAINT: Requires no treatment other 
than the above. 


GLOSS PAINT AND ENAMEL: Dull the gloss 
by washing with a strong solution of hot washing 
soda, followed by sponging with clean water. After 
allowing to dry scratch the surface thoroughly in all 
directions with No. 3 sandpaper or coarse steel wool 
before applying Mural-Tex. No sizing is necessary. 


VARNISH, SHELLAC AND GLOSS OIL: 
Follow the same procedure as specified for Gloss 
Paint and Enamel. 


OTHER SURFACES 


BRICK AND HOLLOW TILE: In order to 
effectively conceal the joints in brick and hollow tile, 
point up with a fairly heavy mixture of Mural-Tex, 
at the same time leveling up all imperfections in the 
wall, in order to bring to an even surface. (It is 
sometimes advisable to follow this treatment by 
brushing on a thin coat of Mural-Tex and allowing 
it to dry before applying the final coat). The sur- 
face should then be brushed down thoroughly so 
as to remove all loose material, followed by a coat 
of Muralo Wall Size, allowing it to dry thoroughly 
before applying Mural-Tex. 


CONCRETE: Concrete surfaces should be al- 
lowed to stand sufficiently long to age and dry out 
thoroughly clear through. Before applying Mural- 
Tex follow similar procedure as specified for Brick 
and Hollow Tile. 


WOOD: Bare wood should be first sized with 
Muralo Wall Size, and allowed to dry thoroughly. 
Painted or varnished wood should be treated as 
specified under the heading “Painted Surfaces.” 


NOTE: The surfaces enumerated are those 
generally encountered. Painters and Decorators 
-having to deal with surfaces other than these should 
write for specific instructions in each instance. 


2. MIXING 


Measure out in a good sized metal pail sufficient 
cold water of ordinary temperature (70 degrees) and 
add gradually the required quantity of Mural-Tex 
dry powder, stirring thoroughly until all ingredients 
are incorporated and the mixture becomes smooth 
and plastic. Do not add the water to the powder. 


Rugged textures require a much heavier con- 
sistency than lighter designs, and the quantity of 
water should be regulated accordingly; the more 
rugged the texture the less water and the lighter 
the texture the more water. Five pounds of dry 
powder added to each half-gallon of water will pro- 
duce a mixture suitable for medium textures. 
Practical experience will prove the best guide in 
determining the proper proportions of Mural-Tex 
dry powder and water to produce a mixture suitable 
for the work in hand. Under no circumstances 
should it be mixed thin like kalsomine or water 
paint. 


Care should be taken to mix only enough material 
that can be applied to the wall within thirty-six 
hours immediately following the mixing, as standing 
in the mixed state beyond a reasonable period of 
time does not tend to improve the working proper- 
ties of plastic paints in general. 


If mixed Mural-Tex is left standing over night 
precaution should be taken to pour sufficient water 
into the pail to cover the surface and to lay a damp 
cloth over the pail to prevent evaporation. When 
work is resumed pour off the water before using 
and stir the mixture thoroughly. 


TINTING BASE COAT: Although Mural-Tex 
is made in white only, it may be readily tinted any 
color desired during the mixing operation. Any 
dry colors (not over 5%) may be added, including 
our Muralo Deep Colors. The dry color should be 
first mixed with water to a cream-like consistency 
and then stirred well into the Mural-Tex in process 
of mixing. Do not use colors in oil for tinting 
during the mixing operation. It is advisable to tint 
sufficient Mural-Tex at one time to complete the 
entire surface to be decorated. This insures absolute 
uniformity of color, which is not possible where 
several batches are tinted at different times. 


Very attractive single tone effects are produced 
by tinting the base coat, and the appearance may be 
further enhanced by the application of colors in oil 
during the Glazing operation, after Mural-Tex has 
dried thoroughly on the wall, and has been sized. 


CAUTION: Do not mix other plastic finishes 
with Mural-Tex; in fact, absolutely nothing should 
be added except water and where desired, dry color 
as specified. 


3. APPLICATION 


For light textured effects apply Mural-Tex mixed 
to proper consistency by spreading with a wall 
brush over the wall surface to a uniform depth of 
approximately one-sixteenth inch. 


[3] 


For rugged textured effects apply Mural-Tex 
mixed to heavy consistency by spreading, with a 
wall brush over the wall surface to a uniform depth 
of approximately one-eighth inch. 


The air in the room should be dry and of mod- 
erate temperature during the application of Mural- 
Tex. Close the doors and windows to avoid 
draughts. 


It is best to employ two men to do the work—one 
to apply the Mural-Tex and the other to follow with 
the texturing, so that the texturing operation will 
not be too far behind the application. Where two 
men are not available, only sufficient area should be 
covered as will permit of completing the texturing 
within two hours immediately following application. 


At the end of the day, or if application is discon- 
tinued for any other reason, the work should stop 
in a corner or at a door or window frame, so that 
the joint will not be perceptible where application is 
resumed. If it is not practical to follow this pro- 
cedure, the coating should be stretched out by 
brushing to a feather edge irregular in contour. 


If Mural-Tex should splash on the woodwork or 
trim it will do no harm to the surface. It can be 
easily removed while soft with a putty knife, fol- 
lowed by washing with a wet cloth or sponge. 


4. TEXTURING 


After applying Mural-Tex to the wall surface in 
the manner prescribed above, development of the 
texture should be undertaken immediately follow- 
ing, while still plastic. An endless variety of 
textured and relief effects may be secured by the use 
of a brush, whisk broom, comb, stippler, sponge, 
wad of crumpled paper, graining tools, broad knife 
or other suitable implements. Some very novel 
effects can be produced by manipulating with the 
bare hands. 


The method of procedure depends upon the finish 
desired, but in general the operation consists of 
daubing the surface here and there with the imple- 
ment selected, varying the motion from straight to 
circular and increasing or decreasing the pressure 
of the stroke in order to vary the depth of the depres- 
sions. If after beginning to develop the texture it 
is desired to change the effect, the surface can be 
smoothed out immediately and a new design started. 


The aim should be to avoid uniformity of pattern, 
and this can be accomplished by handling the work 
in a free and easy manner. 


It is best to employ two men to do the work—one 
to apply the Mural-Tex and the other to follow with 
the texturing, so that the texturing operation will 
not be too far behind the application. Where two 
men are not available, only sufficient area should be 
covered as will permit of completing the texturing 
within two hours immediately following application. 


After development of the texture and while the 
surface is still in plastic state, all rough edges and 


high points should be smoothed down by passing our 
Mural-Tex Smoothing Tool lightly over the textured 
surface. Certain types of texture require finishing 
with a wet brush. Some prefer to trowel down the 
surface or dress the imperfections with a broad 
knife, and still others permit the surface to dry hard 
and then finish off with sand paper or other suitable 
abrasive. 


When the work is completed, facilitate drying by 
opening the doors and windows to allow free circula- 
tion of air if the weather is mild. If the weather is 
cold or damp turn on the heat. When thoroughly 
dry dust off the surface with a painter’s duster or 
a whisk broom. 


5. GLAZING 


Colors in oil mixed with Flatting Oil or with any 
good non-alkaline Glazing Liquid are most suitable 
for the purpose of glazing Mural-Tex with color. 
Before applying the colors, the textured surface 
should be allowed to dry for about 12 hours, and 
then sized with Muralo Wall Size, White Shellac or 
any good non-alkaline size, in order to kill any suc- 
tion that may be present. Allow the size to dry 
before glazing the surface. 


SINGLE TONE EFFECTS: Apply the color 
mixed with Flatting Oil or Glazing Liquid over the 
textured surface, taking care to work it well into 
the indentions. Allow to set for a short while and 
then wipe out the high points with a soft rag 
wrapped around a block of wood, in order to bring 
out the high lights. 


TWO TONE EFFECTS: Apply the first color 
over the textured surface, taking care to work it well 
into the indentions. After allowing the first color 
to dry thoroughly, apply the second color, allowing 
it to set for a short while, and then wipe out the 
high points with a soft rag wrapped around a block 
of wood, in order to bring out the base color on the 
high lights. 


When the base coat of Mural-Tex is tinted during 
the mixing operation, as indicated under “Section 1 
—Mixing,” the application of the second color and 
wiping out the high lights are all the operations 
necessary to produce two tone effects. 


TINTED WALL SIZE: Attractive effects can 
also be produced by incorporating color in the sizing 
coat when Muralo Wall Size is employed. Mix dry 
color with water to a cream-like consistency and 
then stir well into the size in process of mixing. 


MULTI-COLOR EFFECTS: Each of the colors 
selected should be mixed with Flatting Oil or Glaz- 
ing Liquid in a separate vessel. A separate brush 
(2” sash tool preferred) should be used to apply 
each color. 


Beginning at the center of a section of the textured 
area apply spots of a single color by daubing on here 
and there with a spiral motion of the sash tool, 
forcing the color well into the texture and continu- 


[4] 


ing with the same color until the surface is 
irregularly spotted. Each of the additional colors 
employed should follow in similar fashion until 
freely interspersed over the surface. 


Proper blending of the several colors is most im- 
portant and this should be accomplished before the 
colors have dried, by rubbing out with a brush or 
soft cloth wrapped around a flat block of wood. 
The edges of the adjacent colors should be gradually 
worked into each other until a harmonious blend of 
all the color spots is effected. Care should be taken 
not to intermix the colors to such an extent as to 
lose their individual values entirely. The center of 
each spot should show through in the original color, 
gradually blending into the neighboring colors. 


If at any time it is desired to change the color 
scheme of a Mural-Texd wall, apply a coat of Flat 
Paint with a little Linseed Oil added and tinted to 
suit. Allow to dry and then proceed to glaze with 
color in the usual manner. 


6. FINISHING 


. When the colors have dried following the glazing 
operation, apply a coat of clear Flatting Oil or Glaz- 
ing Liquid not alkaline in nature. Aside from 
lending richness and character, this finish provides 
a washable protective coating as well. 


If a glossy finish is desired, White Shellac or 
Pyroxylin Lacquer may be substituted for the Flat- 
ting Oil or Glazing Liquid. 

Starch may also be used for the finishing coat or 
a coating of wax applied and rubbed to the finish 
desired. The waxed finish is often used on Traver- 
tine Stone Effects. 


SMALTS AND COLORED 
SAND EFFECTS 


7. 


Smalts such as used by Sign Painters and available 
in a number of colors is often employed in conjunc- 
tion with Mural-Tex, where fine textures and true 
color effects are desired. Fine white sand tinted 
with dry color can also be used for this purpose. 


Place a small quantity of the Smalts or colored 
sand on a piece of flexible cardboard held near to the 
Mural-Texd wall and blow the mixture with the 
breath onto the surface after Mural-Tex has been 
textured and while still plastic. A sand bellows or 
other air-blowing device may be used for the 
purpose. Any number of colors may be employed 
but each should be tinted and blown on separately. 
Our Mural-Tex Smoothing Tool is then passed over 
the surface with a sweeping motion of the arm ina 
series of irregular curves, varying the pressure on 
the tool so as to modify the texture. When 
thoroughly dry dress the surface with sandpaper 
and finish with a coat of clear Flatting Oil, Glazing 
Liquid or any of the usual finishing mediums. 


8. RELIEF ORNAMENTATION 


Mural-Tex lends itself readily to all kinds of 
relief decoration such as ornamental door and 
window surrounds, friezes, borders, over-mantel 
panels, coats-of-arms and other embellishments. It 
may be applied over textured surfaces and the usual 
flat finishes. 


As a general rule relief ornamentation should be 
applied over Mural-Texd surfaces before the texture 
is glazed with color. If, however, the medium 
employed for glazing with color is Flatting Oil the 
relief decoration can be applied over the color when 
the surface is thoroughly dry. 


RELIEF STENCILS: Oiled paper stencils are 
suitable and may be purchased ready cut or the 
Decorator can cut his own. Before using the sten- 
cil, give it a coat or two of Shellac. 


After the textured surface is thoroughly dry and 
has been sandpapered and dusted off, the stencil is 
held firmly against the textured surface and a heavy 
mixture of Mural-Tex spread over the openings with 
a broad knife taking care to press well into the 
openings. The surface is then dressed with the 
broad knife and the stencil lifted clear from the 
wall. When the stencilled decoration is thoroughly 
dry the entire wall surface including the stencilled 
decoration should be given a coat of Muralo Wall 
Size, allowing the size to dry thoroughly. Glaze 
with color and finish in the usual manner. 


The Mural-Tex may be colored as described under 
“Base Tinting” before applying with the stencil, or 
it can be glazed with one or more colors after ap- 
plication when dry. Double cut stencils may be 
employed to produce the more elaborate color 
effects. 


FREEHAND RELIEF DECORATION: A re- 
lief bulb or bag is used for this work. After the 
textured surface is thoroughly dry and dusted off, 
the design is sketched on the wall with a crayon or 
pounced through a perforated pattern. The bag or 
bulb is then filled with a medium mixture of Mural- 
Tex of a consistency that will flow easily, and a 
suitable nozzle attached to the bulb or bag. The 
Decorator then passes the bulb or bag over the 
pattern on the wall, forcing the contents through 
the nozzle with a light pressure of the hand and 
depositing the plastic material over the design. 
Coloring is accomplished by the same methods 
described under “Relief Stencils.” 


ORNAMENTS: Stock designs moulded from 
papier-maché or plaster may be employed in con- 
junction with Mural-Tex. These should be fastened 
firmly to the wall with suitable adhesive and a few 
small nails before Mural-Tex is applied to the wall 
surface so that, after sizing, both wall proper and 
ornament will receive the coating of Mural-Tex at 
the one operation. These ornaments may be glazed 
with the same colors used on the wall or other colors 
if it is desired to emphasize the ornamentation, 
Finish in the usual manner. 


RY [5] 


MURAL-TEX 


A plastic composition designed to make possible 
the reproducticn of historic wall textures and the 
development of new and novel decorative color 
effects in both high and low relief. 


It takes but a few minutes of experimenting to 
realize the possibilities of this medium for securing 
the unique wall effects that mean so much to the 
painter and decorator in building up a reputation for 
craftsmanship of quality and originality. 


COVERING CAPACITY: On medium textures 
one pound of Mural-Tex mixed to the proper con- 
sistency will cover one square yard of wall surface. 
This will increase on the finer textures to one and 
one quarter yards or more to the pound. Rugged 
effects will of course require more material than the 
finer textures. 


PACKED IN: 5 lb. packages, 25 lb. cartons, 
100 lb. kegs and 350 lb. barrels. 


SMOOTHING TOOL 


This new tool, scientifically designed to present 
the straight edge at just the proper angle to the 
handle makes possible better work without the 
cramped, strained effort common to the use of tools 
improperly shaped. 


While primarily designed as a Smoothing Tool, it 
can also be used for developing certain types of 
texture, including troweled effects. 


MURALO WALL SIZE 


A safe and efficient Wall Size, unequalled as a 
primer or first-coater on all interior surfaces to be 
decorated with plastic paints and decorative wall 
coatings in general. 


It guards against discoloration, cracking, checking 
and peeling of wall decorations. It contains con- 
centrated sizing ingredients that make it far more 
effective than shellac, gloss oil, varnish, glue or other 
sizing preparations. 


Compounded in dry powder form and is ready for 
use when dissolved in boiling water. 


PACKED IN: +1 lb. packages, 10 lbs. to the 
carton, 10 cartons to the case. 


MURALO PATCHING PLASTER 


A high grade plaster possessing all the qualities 
essential for general patching and similar repairs for 
interior wall surfaces preliminary to painting and 
decorating. It absolutely will not shrink, crack, 
crumble or develop other imperfections. 


The set is controlled to the required extent to 
facilitate manipulation during application and to 
insure uniform drying without shrinkage. It dries 
out hard and firm, becoming an integral part of the 
wall itself, and provides an ideal foundation for 
whatever form of decoration that is to follow. 


PACKED IN: 2% lb., 5 lb. and 25 lb. Cartons. 


ARCHITECTS’ SHORT FORM SPECIFICATIONS 


To Architects who do not consider it necessary to specify 
in detail, the following short form is recommended: 


All wall and ceiling surfaces noted in the accompanying schedule, after receiving proper 
surface treatment, shall be finished with Mural-Tex delivered in unbroken original packages 
and applied in accordance with the directions furnished by The Muralo Company, Inc., the 
manufacturers of Mural-Tex, which directions are made part of these specifications. Sample 
panels for texture, color and finish shall be developed in the actual material by the Decorator 
and submitted subject to the Architect’s approval before commencing work on the wall and 


ceiling surfaces. 
Architect’s office. 


Duplicate samples of the panels accepted are to remain on file at the 


SCHEDULE 


Under schedule the following should be roted (a) Room name or number and sample 
panel corresponding; (b) Whether walls or ceilings or both are to be finished; 
(c) Texture as light, medium or rough; (d) Whether base coat is to be tinted or 
texture glazed in one or more colors; (e) Whether finish is to be Flatting Oil, 
Glazing Liquid or other finishing medium; (f) Type of relief ornamentation. 


5-10-27 


PRINTED IN U.S°A. 


mi 


Sas 


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I, iS, harm of ie ved t We, Is 


Ap| UCH of the charm of period rooms is due to the 
crude hand-methods of production by which, 
four and five centuries ago, form was developed 
from design. Exactly as the brush-marks of 
the artist give character and distinction to his canvas, so 
the tool-marks of the old craftsmen lend individuality 
and originality to the rooms of the historic periods. Every 
detail bore some mark of individual expression. The 
irregular whorls of hand-forged iron are stamped with 
the blows of the craftsman’s hammer; the axe has left 
its visible imprint on hand-hewn timbers; the impression 
of the palm of the hand, the marks of the coarse brushes 
or crude paddles, are clearly discernible in the rough tex- 
ture of the walls. 


Dee ae 


Fonees 


Modern machine methods and quantity production have 


possible. 


tended to force individuality into the background. Occa- 4 
sionally, however, modern invention comes to its rescue. : 
The rough, hand-textured walls of four and five hundred Al 
years ago, sparkling with personality and individuality, : 
have inspired modern craftsmen to almost unlimited pos- : 
sibilities. With the aid of modern appliances, materials 1 
of modern scientific manufacture offer opportunities for 4 
individual expression which the old trowel-wielders of : 
the 15th and 16th centuries would not have believed 


For the purpose of showing a few of the interesting effects 
in textured and relief decoration, made possible by the 
perfection of Mural-Tex, this booklet is published by 
The Muralo Company, Inc. 


MURALTEX 


i ct i i Ss Na a ho A Bi SS as. tetra a A A 


| Nowely Texture oo oe Sponge Stippled and Stenciled 


A FEW OF THE MANY INTERESTING 
MURAL-TEX WALL TEXTURES 


MURALTEX 


JSextured Walls as Decorative Factors 


ALLS are considered by some as merely backgrounds for decora- 

tions and furnishings, and are treated accordingly. “This is a mis- 
taken conception. Walls are in reality the very heart from which both 
the architectural, or structural and decorative designs are developed. 
Architectural design first takes shape ina series of masses and voids. The 
design of each wall of a room, dealing with the location, shape and size 
of its penetrating doors, windows and wall spaces, is first of all an archi- 
tectural problem. It is primarily a study in line and proportion. The 
purpose of a decorated wall is to accentuate the lines and proportions of 
the architectural design. At the same time, a decorated wall lends interest 
to the architectural design, just as carved ornament lends interest to the 
design of a door surround or as wrought iron ornament lends interest to a 
window grille. A textured wall isa decorated wall. While various orna- 
mental coverings may be applied to walls to give them a certain decora- 
tive quality, a textured wall always retains structural significance by 
being so truly a part of the wall which it decorates. A texture is the 
logical wall decoration. 


A textured wall lends itself to adaptation, whether the influence in the 
design of the room be English, Italian or Spanish. The quality of the 
texture will, of course, vary according to the style of the design. Fur- 
thermore, in these times, when precedent is not so closely adhered to and 
the designer of interiors is more concerned with shaping his schemes so as to 
better meet the purpose and requirements of the modern household, than 
to reproduce accurately period details, opportunities for original expres- 
sion are welcomed. One of the greatest charms of the textured wall is 
this very opportunity for original expression. The material employed 
by the old craftsmen of Europe offered only limited possibilities; their 
tools and methods of application did not allow of wide variation in the 
treatment of the surfaces. “There was, as a result, a similarity in the old 
textures of various periods. The beauty of modern materials by which 
it is possible to attain a wide variation in wall textures is due to their 
plasticity. The modern textured wall is actually modeled by hand. Its 
surface bears the marks of individuality in its application just as truly 
as the clay retains the imprints of the sculptor’s fingers. 


i) 
i 


EARLY ENGLISH INTERIOR 


LIVING ROOM 
Early English Influence 
Frank J. Forster, Architect 


BARN ENGLISH 


Ey OLD England, plastering was 

practiced as an art. In its early form, 
known by the name of “wattle and 
dab’, plaster work was used for the 
filling in of panels formed by the ver- 
tical and horizontal timbers of wooden 
framed structures. Later on, the ma- 
terial used for the covering of cottage 
walls came to be known as “‘parge’’, 
and the art of applying it was called 
“‘pargetting’. Some walls were plain 
and unembellished, some rough cast; 
while others were modeled in relief. 
Patterns in plaster were of various 
forms and arrangements. The ground 
was varied in its surface and texture 
and was never uniform or level. 


LIVING ROOM 


Early English Influence 
Wm. F. Dominick, Architect 


MURALTEX 


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SPANISH INTERIOR 


MURALTEX 


DINING ROOM 
Spanish Influence. Geo. Washington Smith, Architect. 
(From “Spanish Influence on American Architecture and 
Decoration’. By permission of Brentano’s, publishers.) 


SPANISH 
“THE TEXTURED wall is as much 


a part of the Spanish interior as are 
its bits of hand wrought iron and its 
brilliantly colored products of burnt 
clay. The method employed by old 
Spanish plasterers was purely that of 
the craftsman. As the plaster began to 
set, the plasterer rubbed it with the 
palm of his hand into a satisfactory 
finish. ‘This resulted in an irregular 
surface, uneven, yet uniform in char- 
acter. It has come to be known as the 
Spanish “‘palm finish’. Original Span- 
ish walls were never treated with that 
exaggerated roughness affected by so 
many who pretend to create interiors 


: ‘ LIVING ROOM 
u ‘ ; 
of Spanish influence Spanish Influence. Bradley Delehanty, Architect. (From 
“Spanish Influence on American Architecture and Decora- 
tion’. By permission of Brentano's, publishers.) 


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ITALIAN INTERIOR 


DINING ROOM 


Italian Influence 
Frederick Sterner, Architect 


PRALIAN 


es EARLY Italians made use of 

textured walls to lend additional 
interest to the color which they applied 
to the wall surfaces. The rough plas- 
tered texture was obtained by patting 
down the material with the palm of 
the hand, similar to the method em- 
ployed by the Spanish. Surfaces varied 
from the smoothest to the roughest. 
There was always evident a boldness 
and firmness in the texture which re- 
sulted from the crude method of appli- 
cation. A textured wall went hand in 
hand with color in early Italian times, 
the uneven surface giving peculiar qual- 
ity to the color of the frescoes for which 
the period is famous. 


LOUNGE 
Italian Influence 
Dwight James Baum, Architect 


LIVING ROOM 


Early English Influence 


itect 


Arch 


Donn Barber 


DINING ROOM 

Spanish Influence. Wm. L. Bottomley, Architect. (From “‘Span- 
ish Influence on American Architecture and Decoration’. By per- 
mission of Brentano’s, publishers.) 


URAL-TEX is a product of modern invention and modern 
manufacture by which a most interesting and unusual array of 
decorative wall effects may be obtained. With it, the old textured 

walls of the early English, Italian and Spanish schools may be repro- 
duced. In addition, however, it offers unusual opportunities for original 
expression. In fact, it is hard not to be original when applying Mural- 
Tex. With very little practice, any practical painter or artistically 
inclined layman may produce with Mural-Tex most interesting and 
original wall effects. “he various textures which may be obtained by 
using Mural-Tex are unlimited. “They range from the very smooth 
to the very rough and all intervening types. With each new applica- 
tion of Mural- Tex, some new textural effect evolves. One of the greatest 
assets of a textured wall obtained by the use of Mural-Tex is its variety 
of pattern. A Mural-Tex wall is like a wall decorated with a mural 


MURALTEX 


LIVING ROOM i; ue 
Early English Influence 
Julius Gregory, Architect 


painting. In no sense may it be likened to a wall decorated with a 
material whose design is based on a monotonously repeated pattern. 


But Mural-Tex is not limited simply to obtaining texture alone. Its 
plasticity allows of its use for ornamentation in relief applied by means 
of a cut stencil or even modeled by hand directly on the wall. In this 
way it may serve both as wall decoration and as ornamental door and 
window surrounds, frieze, and over-mantel panels, thereby retaining an 
harmonious relationship between the various ornamental members which 
it is impossible to attain in materials of different character. 


Mural-Tex may be applied with a brush, and manipulated with a brush, 
sponge or other suitable implement to obtain the desired effect. When 
applied, it is permanent in nature, becoming actually a part of the struc- 
tural wall, and cannot be considered merely as a skin or a coating applied 
to the surface of the wall. Mural-Tex becomes the surface of the wall. 


MURALTEX 


Spanish Influence 
Hunt and Kline, Architects 


The opportunities for color in Mural-Tex are as varied as its textures. 
Colors may be either plain or blended together to produce an harmonious 
combination. Any number of colors may be employed. 


When only one color is desired, it is possible to tint the Mural-Tex be- 
fore application, so that texture and color are obtained in one operation. 
In any case, greater durability will result by protecting the finished sur- 
face with a coat of Flatting Oil or Glaze. The surface can then be readily 
washed with water to remove dirt and dust. 


Mural-Tex is manufactured in dry powder form, and simply requires 
mixing with ordinary cold water to prepare it for immediate use, and 
may be applied over plaster, wall board, brick, concrete, wood or any 
surface, with a single coat, and presents a permanent surface that will 
withstand the usual wear and tear to which a wall finish is subjected. 


As Mural-Tex is free from alkali it will not destroy 
colors, mar woodwork or injure the hands. It de- 
velops no ammonia fumes or objectionable odors, and 
dries hard and durable. 


After exhaustive tests over a long period of time, we 
unhesitatingly recommend Mural-Tex as a depend- 
able product that will meet the most exacting of 
decorative requirements. 


Sample panels developed in Mural-Tex, descriptive 

literature and further information will be cheerfully 
i furnished upon request, and we invite correspondence 
: relative to your decorative problems and needs. 


HE MURAEO COMPA INi eas iic: 


Founded 1894 


Specializing Exclusively in Decorative Wall Coatings, 
Cold Water Paints, Wall Sizes and Patching Plaster. 


STATEN ISLAND, NEW YORK 


We acknowledge with thanks the cooperation of the 

prominent Architects and Publishers whose courtesy has 

made available the various illustrations showing the use 
of textured wall finishes. 


comes (T)RALTEX ® 


© 1927 BY THE MURALO CO., Inc. PRINTED) INU. 8. A: 


SE 


Pale 


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